Chapter III: Part 3

They are evidently a work of the middle or latter part of the fifteenth century. The lilies and leaves bent up out of the iron plates are produced with wonderful skill. Some of the lateral chapels in the same church have corresponding screen-work, and as Toulouse is a city partaking much of the Spanish character in its buildings, streets, &c., I am inclined to think that it has also borrowed the design of this screen-work from Spain; as Seville, Toledo, and other great churches, have curious iron screens, reaching forty or fifty feet in height, and of a very similar description of work. In the same plate with the Toulouse iron-work, I have figured a screen from the cathedral of Toledo, from which the great similarity of style may be readily perceived.

CATHEDRAL OF AUCH.

The jubé was constructed during the early part of the sixteenth century, in the style of the Renaissance, enriched with most elaborate arabesques and details of the period, and provided with lateral altars. It is still standing, although some attempts have been made by innovators to remove it; but hitherto the canons have resolutely resisted all propositions for ruining the ancient choir.

CATHEDRAL OF RODEZ, LANGUEDOC.

This jubé, which is still standing, was erected in the early part of the sixteenth century. It is divided into three open arches, by clustered pinnacles, with tabernacle-work and imagery. The centre doorway into choir is surmounted by richly flamboyant tracery; on either side are two altars.

CATHEDRAL OF TROYES.

The jubé was supported by eight pillars; on either side of the choir entrance an altar; it was ascended by a staircase on the Gospel side.

The following notice respecting the jubé occurs in the records of the cathedral:—

"En 1382, le chapitre fit marché pour la construction du jubé avec Henri Nardau et Henri de Bruxelles, moyennant cinq sous par jour, ou un mouton d'or par semaine. La première pierre fut posée et bénie par l'Evêque Pierre d'Arcys, le 22 Avril, 1383; il donna la somme de cinq livres pour présent; l'ouvrage ne fut cependant commencé qu'en 1385, et achevé entièrement qu'en 1400. L'image de S. Pierre, qui était au côté de la porte, fut faite par Maître Drouin de Mantes, moyennant cinq livres, et celle de S. Paul, par Maître Gérard, qui eut six livres; quatre chanoines firent les frais de ces statues.

"On lit dans les comptes de l'œuvre de 1383, l'article suivant, qui prouverait qu'un concours avait été ouvert pour le projet du jubé:—

"'Primo pour ung pourtrait fait en parchemin pour ledit jubé, par Henry de Bruisselles, maçon, don commend. de Messigneurs pour monstrer aux bourgois, et aux ouvriers de la ville encontre ung aultre pourtrait, fait par Michelin le maçon, auquel pourtrait, fait par ledit Henry, lesdiz bourgois et ouvriers se sont tenus pour être le meilleur pour ce paie audit Henry don commend. de Messigneurs, xx s.'"

This screen remained perfect till 1793, when it was destroyed by the revolutionists.

It is worthy of remark that the ancient altar, erected by Bishop Odard Henequin, surrounded with curtains, supported by rods attached to brass pillars surmounted by angels, was demolished by the chapter in 1780, to substitute one of modern design; and within twelve years from that time the clergy were dispersed, and the church in the hands of the infidels.

Behind this high altar was a raised loft of carved wood-work, richly painted and gilt, in which the shrines of S. Helene and S. Savinien were placed. The access to this loft was by a circular staircase on the Gospel side, and a corresponding one to descend on the Epistle, to prevent confusion when great numbers of the faithful visited the relics or the feasts.

The great relics of the Sainte Chapelle, at Paris, were reserved in a similar loft behind the high altar, and the circular staircases, of beautiful design, have been recovered, and restored to their original destination.

_Account of the Jubés formerly standing in the Churches of Troyes._

That of the cathedral already described.

The jubé of the collegiate church of S. Stephen was constructed in 1549, by Dominic Rocour, a Florentine, and Gabriel Fabro, masons of Troyes. It was composed of three arches, or porticos, of the Corinthian order, surmounted by an attic, decorated with bas-relievi and images. Demolished in 1792.

The jubé of the Cordeliers' church was of stone, supported by Doric pillars, and enriched with gilt ornaments. Demolished with the church in 1793.

The jubé of the Jacobins' church was constructed in wood; the front was decorated with bas-relievi and other ornaments, painted and gilt. It was pulled down, by order of the prior, J. B. Pitras, to open the choir.

The jubé of the abbatial church of S. Martin was also of wood, richly painted and gilt. It was pulled down by order of the prior, François Robin, in the year 1760, as he thought it looked too ancient (il le trouvait trop ancien). Thus, of these rood lofts, three were destroyed by the revolutionists, and two by the bad taste of two unworthy priors of the _eighteenth_ century.

The jubé of the parochial church of S. Mary Magdalene yet remains perfect; it is of late date and florid design, but exceedingly beautiful in execution.

The subjoined account, as well as the foregoing details, is taken from Monsʳ. Arnaud's Voyage dans le Département de l'Aube.[15]

VILLEMAUR.

A most interesting jubé, constructed of wood, and erected in the sixteenth century, is still remaining in the parish church of Villemaur. The front of the loft is divided into eleven panels, each containing a mystery of our Lord's passion, carved in bas-relief; below these are a series of arches springing from pendants. The screen is open, with mullions richly carved in the arabesque style, and the loft is ascended by a circular staircase on the Epistle side, enclosed with open mullions. The arrangement of this staircase greatly resembles that of the rood loft at Lambader, in Brittany.

S. GERMAIN DE L'AUXERROIS, PARIS, PARISH CHURCH.

"The jubé is admirable.[16] Clagni was the architect, and Jean Goujon the sculptor. It is composed of three arches supported on Corinthian pillars, the centre one forming the entrance of the choir, and the two side ones chapels with altars. Above the parapet are images of the four Evangelists, and under the cross a fine bas-relief of Nicodemus entombing our Lord."—Sauval, Histoire des Antiquités de la Ville de Paris: tom. i. p. 304. Paris, 1724.

This screen was demolished in the great revolution.

S. ETIENNE DU MONT, PARIS, PARISH CHURCH.

"The jubé erected by Biart is a fine work, the staircases by which it is ascended are most skilful in construction, but it is rather overloaded with ornament."—Ibid. tom. i. p. 407.

This screen, erected at the end of the sixteenth century, is still standing.

BOURGES.

The choir of this church was formerly enclosed by a screen of wood, extending across the nave, on which were thirty brass candlesticks standing in large basins for wax-lights on great feasts.

This screen was provided with three doors, and the front was enriched with sculptures representing the life and passion of our Lord. The whole was demolished in 1774.

NOTRE DAME, PARIS.

Claude Malingre, in his Histoire de Paris, gives the following description of the enclosure of the choir of this church. "The choir is enclosed by a solid wall, but open with pierced work round the high altar, above which are represented sacred personages gilt and painted. The upper screen represents the history of the New Testament, and below, the Old, with scriptures explaining the subjects.

"The great rood which is over the entrance of the choir, is all of one piece,[17] and a chef-d'œuvre of sculpture.

"Below this, on the south side, is an image of the Blessed Virgin held in great devotion, and on the altar is another image of our Lady, called Notre Dame de Consolation, and near it the image of an archbishop with this scripture, 'Noble homme Guillaume de Melun, archevesque de Sens, a fait faire ceste histoire entre ces deux pilliers, en l'honneur de Dieu, de Nostre Dame, et de Monseigneur S. Estienne.'

"On the north side, opposite the Porte Rouge, is an image of a man kneeling, with the following inscription on a label:

"'C'est Maistre Jean Ravy qui fut masson de Notre Dame de Paris, pour l'espace de xxvi. ans, et commença ces nouvelles histoires: et Maistre Jean de Bouteillier les a parfaites en l'an MCCCLI.'"

A great portion of these sculptures still remain, but the choir-screen or jubé described by Malingre must have been demolished in the alterations consequent on the ill-judged vow of Louis XIII., as an old view of the interior of this church, published in the seventeenth century, represents a jubé of a Rococo style, similar to the wood-work of the choir. It was composed of four large piers with four engaged pillars to each: between these, the centre space was filled by two open metal-work gates, and two lateral ones were occupied as usual by altars, but in a most degenerate style of decoration. This screen was so similar to some that I have engraved of a corresponding period, as at Sens, &c., that I have not thought it necessary to do more than give a description of its arrangement. It was demolished in the great revolution of 1790, and has been replaced since the restoration of religion by a very meagre railing and dwarf marble wall.

It is proper to observe that the tradition of the ambones is still retained in two rostrums on either side of the western extremity of the choir, on which the Epistle and Gospel are sung on all great feasts and Sundays.

ABBEY OF FECAMP.

"The length of this church appears at first sight out of all proportion to its width, but this is caused by the destruction of the great screen which separated the choir from the nave. This splendid work, commenced in the year 1500 by Robert Chardon, monk of the abbey, and of exquisite lightness of design, and covered with admirable sculptures, was barbarously demolished by the Vandals of 1802."—Essai sur l'Abbaye de Fécamp, par Leroux de Lincy. Rouen, 1840.

CATHEDRAL CHURCH OF BAYEUX.

"The screen worked in Caen stone was a gift of the late Monsʳ. de Mesmond. It is supported by six pillars of black marble, given by Canon Baucher; it was commenced in 1698, and completed in 1700. Between the pillars are excellent statues of the Blessed Virgin and S. Joseph, and the whole is surmounted by an image of our Lord crucified, boldly carved. It was erected on the 23rd of December, 1702."—Histoire de la Ville de Bayeux, par M. Beziers. Caen, 1773.

N.B. The original screen was irreparably injured by the Calvinists, who sacked this noble church in 1561. A full account of the sacrilege committed by them, may be seen in the same work, p. 236.

S. RIQUIER, NEAR ABBEVILLE.

The original screen of this magnificent church was demolished, together with the ancient choir fittings, by an unworthy abbot of the eighteenth century; but even at that period, a screen of some kind was considered indispensable, and one of wrought iron, about eighteen feet high, was set up. I have figured this in the plates as a curious specimen of the period.

S. WULFRAN, ABBEVILLE.

There is a rococo iron screen of about the same date as that at S. Riquier, and probably executed by the same smiths. It is divided into three compartments, with the gates in the centre.

[13] De Moleon mentions in his voyage that three silver crosses, each holding three tapers, were suspended in the rood loft, under standing candlesticks; he also describes the jubé as being built of marble, and of what was considered in his time a fine design.

[14] _Extrait de l'Histoire de S. Ouen, de Rouen._

Ce fut par sa magnificence que l'on bastit le jubé, qui étoit une des plus belles et des plus delicates pièces que l'on eust pû voir, et que l'on admireroit encore aujourd'huy, si depuis il n'auoit ressenty les effets de la rage des hérétiques. Il est placé avec tant d'adresse, que n'y la croisée n'y le chœur n'en sont aucunement incommodez. Il étoit enrichy d'excellentes figures et de quantité de rares embellissemens qui étoient sortis de la main d'un très habile ouvrier. Mais ces malheureux, ne pouvant souffrir ce bel ouvrage, qui bien que quasi tout neuf, ne laissoit pas d'estre beaucoup plus ancien que leur fausse religion, et de leur en reprocher la nouveauté, le ruinerent avec leur fureur accoûtumée, et jetterent par terre toutes les saintes images et tous les autres ornemens, qui étoient autant de chefs-d'œuvres de sculpture. Mais ce ne fut pas là la plus grande perte qu'ils causèrent à cette Abbaye, ainsi que nous dirons. Les armes de ce magnifique cardinal qui étoient sous le jubé, c'est à dire, dessus la porte par où l'on entre de la nef dans le chœur, furent abatues et détruites dans ce mesme pillage; et ci celles qui sont au haut d'une vitre du costé de la croisée, par où l'on descend dans le cloistre, n'eussent esté hors de la prise de ces furieux, elles eussent aussi couru la mesme fortune.

[15] "Enfin, entre tant de jubés détruits, un seul, le plus riche de tous, celui de l'église paroissiale de la Madeleine, est resté debout. Son existence peut être regardée aujourd'hui comme un problème, si l'on considère les différentes causes qui ont amené la destruction des premiers. Aussi ce n'est pas sans avoir éprouvé quelques mutilations, et sans avoir été menacé plus d'une fois d'une ruine complète, que ce monument a traversé trois siècles, et est parvenu jusqu'à nous. Outre la richesse des détails, sa construction est remarquable; il est absolument plat, et terminé en sous-œuvre par trois culs-de-lampe à jour, et sans aucune apparence de voûte. Chacune des deux faces se compose de trois arcs ou archivoltes, ornées de moulures et de festons à jour, dont les courbes sont réunies par des pommes de pin. La retombée des arcs au milieu reste suspendue en l'air, et se termine par des doubles culs-de-lampe, dont les plus saillants portaient jadis des statues, parmi lesquelles on voyait Saint Longin, tenant la lance, et des anges tenant les autres instruments de la passion. Les clochetons, ornés de fleurons et découpés à jour, que l'on voit dans l'intervalle des archivoltes, abritaient ces statues. Entre les clochetons sur chaque arc, est posé un cadre à plusieurs pans, rempli par des petites figures de saints en bas-relief; autour des cadres le champ est occupé par diverses fleurs et feuilles d'ornement. Au-dessus règne la rampe, ou galerie, qui est entièrement découpée à jour. La forme élégante des fleurs-de-lis couronnées, qu'on y remarque, suffirait pour faire connaître l'âge du monument, si nous ne savions d'ailleurs qu'il fut construit vers 1506, à la même époque où l'on jetait les fondements des tours de la cathédrale. Sur la rampe on voyait autrefois quatre statues qui accompagnaient le Christ; il n'en reste que deux, celle de la Vierge et de Saint Jean. Aux angles il y avait des vases à parfums munis d'un couvercle. A chaque extrémité, le jubé est terminé par une construction, en forme de chapelle, appuyée aux gros piliers du chœur. Ces chapelles sont décorées de chaque côté par un pilastre chargé d'arabesques. Au milieu, il existe un enfoncement considérable, de forme carrée, avec des angles rentrant dans la partie supérieure; cet enfoncement était autrefois rempli par un bas-relief, qui en a été arraché et détruit. Au-dessus on voit trois niches sans statues, dont le haut est terminé par des petits dômes et des pyramides évidés à jour avec beaucoup de délicatesse. L'escalier est habilement disposé à droite sous la première arcade du chœur, de manière à ne pas être aperçu de la nef, et à ne pas gêner le service. Il s'élève sur une base octogone, engagée dans le gros pilier, et autour de laquelle la rampe, formée de petites arcades en ogives, se contourne en formant un encorbellement; le dessous de cette saillie est orné de moulures et de gorges profondes remplies par des feuilles d'ornement et des figures d'animaux fantastiques. Sous ce jubé a été enterré Jean Gualde, ou Gaylde, son auteur; on y voyait autrefois son épitaphe, gravée sur un carreau de marbre. Il s'y désignait lui-même par la qualité de maistre maçon, semblait nous donner une garantie de la solidité de son ouvrage, en ajoutant qu'il attendait dessous la resurrection bienheureuse sans crainte d'être écrasé. Le jubé de la Madeleine a de largeur, compris les deux chapelles qui en font partie, trente-six pieds, et de hauteur, jusqu'au haut de la rampe, dix-neuf pieds dix pouces."

[16] This is Sauval's description.

[17] This must be a mistake of the historian: a crucifix of these dimensions could not possibly be worked in one piece of timber; but it was a very vulgar error to attach great importance to the idea of tabernacle-work, &c. being worked out of a single block or piece; recent investigation has shown the absurdity of these ideas.

ON SCREENS IN BRITTANY.

S. FIACRE LE FAOUET.

This remarkable rood loft, which I have figured in the plates, is worked in oak, and has been richly painted. The arrangement of the crucifix, and images of our Blessed Lady and St. John, is very singular, as they are placed in front of the loft, instead of being elevated above it. The two thieves are also represented, as is usual in the Crucifixions and Calvaries in Brittany. The crosses to which they are attached are composed of branches of trees.

On the Epistle side the Fall of Man caused by the first Eve, and on the opposite angle the Redemption of Man, through the second Eve, the Blessed Virgin, to whom the angel is announcing the mystery of the incarnation.

There are several very curious carvings in the frieze, among which the popular subject of the mass of S. Martin is easily distinguished.

The church which contains this very curious rood loft is situated in a remote locality, and almost deserted; but a few years since, this venerable relic of ancient piety and art was actually on the point of being sold, had not a neighbouring innkeeper, who derived no small profit from the lovers of antiquity, whom this screen brought to his house, so resolutely opposed its removal, that it was at length suffered to remain.

LAMBADER.

This screen, which is beautifully preserved, with flamboyant tracery, is remarkable for the spiral staircase by which it is ascended, supported by slender shafts, and most ingeniously constructed; the wood groining under the rood loft is bad in principle, as savouring too much of stone construction; but the front of the loft is elaborately carved with tabernacle-work and imagery.

FOLGOET.

This screen, equally remarkable for the elegance of the design as the beauty of its sculptured enrichments, is divided into three compartments, consisting of open cusped arches, supported by pillars, with images, under tabernacle-work, which run up above the arches, and terminate in niches and pinnacle-work. The spaces between this and the canopy-work over arches is filled with quatrefoil-work.

There are two altars on either side of the entrance door, and the space between this and the arch is filled with open tracery-work, like windows.

There are numerous screens yet remaining in many of the churches of Brittany, and originally they were to be found in all. Many others of great interest might be described, but those selected are sufficient to illustrate the argument.

[Plate XI: _Iron Screen, at Toledo._ _Iron Screen, Choir of Sᵗ Sernin, Toulouse._]

[Plate XII: _Screens erected in the 18ᵗʰ Century._ _Église D'Agnes, Picardie._ _Soissons._ _Sᵗ Paul, Trois Chateaux, Dauphiné._ _Cathédrale de Sens._]

[Plate XIII: _Screens in Brittany._ _Folgoet._ _Sᵗ Fiacre le Faouet._ _Chapelle Sᵗ Germain, in Ribermont._ _Plan of Jubé, Notre Dame de Lépine._]

[Plate XIV: _Lambader Brittany._ _Iron Screen at Sᵗ Riquier. 18th Century._ _Wooden Screen in the Church of Urnes, near Bergen._]

ON SCREENS IN ENGLAND.

There is no country in Christendom where so many screens are still preserved and standing, as in England. Till within a very recent period, every cathedral church had retained its ancient separation between the nave and choir; but sad to relate, one of the most venerable of our churches is now denuded of this most essential and ancient portion of the fittings of a cathedral. I refer to Durham: where choir and nave are thrown into one great vacant space, and all the dignity and reverence of choir worship, suited to a capitular body, destroyed. Although the screen was of most debased design, and erected by a Pagan architect (Inigo Jones), at a Pagan period; yet, being placed in the old and proper position, and having attained a respectable colour, through age, it did its work, and was ten times preferable to the modern vacuum caused by its removal. Indeed, all the alterations at Durham are so many enormities. For centuries the western doors of the cathedral were closed, a chapel built outside them, termed the Galilee, and an altar, dedicated in honour of the Blessed Virgin, stood in the recess of the centre door, but lately, without any reason, for, as I have before said, no entrance can be obtained to the church from that end, have these doors been opened, and the remains of the altar removed, thus destroying one of the most curious traditions belonging to this venerable cathedral. Even the old Cromwellian Puritans did not injure the church so much as _its present restorers_, and it is greatly to be regretted that there are no means to compel these authorities to desist from their insane innovations. In the eyes of all true ecclesiologists Durham has lost half its apparent length, half its grandeur, since it has lost its screen, and it has got somewhat of the conventicle. But to return—York, Lincoln, Southwell, Wells, Exeter, Bristol, Chichester, Canterbury, Rochester, Chester, Norwich,[18] have all their old screens and rood-lofts standing. These are too well known amongst persons interested in this subject to need detailed description, but I may observe that they nearly all are ascended by staircases in the thickness of the eastern walls, rising up on each side, and that lateral altars in the screens were not so common as on the continent. The roods, in all cases, have been replaced by organs, which are badly placed both as regards the chanters and the effect of the building. The only instance I have ever met with the remains of a rood is at Columpton, near Exeter, where a large block of oak, carved like rock-work, with a skull and bones, evidently intended to represent Calvary, is still left, and in its upper part a deep mortice to receive the end of the rood.

Our parochial churches are yet rich in screens; of wooden rood-lofts we may particularize Sleaford, Newark, Bury St. Edmunds, Fairford, Tong, Lanryst, Sefton, Ranworth, and Southwold as some amongst the most remarkable. The countries most abounding in screens, are Norfolk, Suffolk, Lincolnshire, Cambridgeshire, and Devonshire, but each county presents many interesting examples, and it must be distinctly understood that every church, small or great, was originally provided with a screen.

In Norfolk, the churches of Cawston, Sall, N. Walsham, Worsted, Walcot, Trunch, Happisburgh, Bacton, Paston, Lynn, Ranworth, Cley, Castle Acre, Cressingham, Snetisham, and Ackle, &c., have all fine screens. Many of them are richly painted, and the lower panels filled with images of saints on gold and diapered grounds. The best preserved are those at Ranworth and Cawston. About five different painters were employed in the decoration of these, as the various styles may be distinctly traced over various parts of the country. Some of them exhibit far greater skill than others, but all have a deal of quaint character, and the images fill up the spaces in which they are placed, by the adjustment of drapery, &c.

There is a great deal of fine screen-work in Suffolk, at Woolpitt, Elmswell, Thurston, Lavenham, Long Melford, Brandon, Southwold, Blythburgh, Hawsted, and many other churches.

In Lincolnshire there are splendid screens at Winthorpe, Ingoldmills, Orby, Burgh, Croft, Boston, Hackington, Swineshead, Tattershall, Ewerby, Newark, Grantham.

In Devonshire the screens have been generally preserved, and on many of them the painted panels with saints and imagery are quite perfect. They are mostly constructed on one principle, with projecting wooden ribbed-work crossing the rood-loft; at Honiton, Feniton, Bradwinch, West Buckland, Columpton, Dartmouth, Kenton, Pinhoe, Plymtree, Tollaton, Tiverton, Atherington, Dawlish, &c., are screens surmounted by rood-lofts; but at Bridford, Burlescombe, Clayhanger, Dartington, Hempston, Plymstock, West Ogwell, &c., there are only screens without lofts, but of exceedingly elaborate design, and for the most part richly painted and gilt, some with saints in the lower panels, like those in Norfolk. A very numerous list, indeed, might be made of churches in this country, where screens of some kind are to be found; they are not always of the same material, for the examples of stone are numerous, as at Totness, Culmstock, Colyton, and Paignton, &c., this latter being monumental, and containing family tombs, introduced in the screen-work. Although the counties above mentioned are those which abound the most in fine examples of screen-work, yet most numerous and interesting specimens may be found in every county.

Sefton church, in Lancashire, has a splendid rood and side screens enclosing the chancel, of a later period, but most elaborate detail.

The parish church at Lancaster contains some very magnificent screen and canopy-work of the time of Edward I. The treatment of the crockets is quite peculiar, as they are joined together, forming a sort of solid enrichment on the gablets.

The priory church of Hexham is rich in carved fittings. The stalls and screen-work of the choir are perfect, and though rude in execution are extremely interesting; this being a conventual church, the screen-work is quite solid. If we proceed further north, we shall find the same system of enclosure of choirs and chancels by screens. The rood-loft at Glasgow is still perfect, and though the Scotch churches have been horribly mutilated, the ancient position of the enclosures is to be traced in most of them.

The churches in Wales were mostly furnished with rood-lofts. The screen and loft at Lanryst are most elaborate in carved enrichments; they were probably erected in the beginning of the fifteenth century, and it is worthy of remark that in this, as well as others, there is a striking similarity between the screens in Wales and Brittany.

Were it not tedious, I could supply a long list of fine screens yet remaining in every part of the country, but there are few of an older date than the thirteenth century, as so many of these churches have been rebuilt or refitted since that period. There can be no doubt that even the Saxon churches were provided with some enclosure across the arch which divided off the chancel. Indeed, so natural and right does it seem to have this separation, that the principles of screens survived the Reformation, as will be mentioned hereafter. But not only do we find the cathedrals and parochial churches to have been furnished with screens, but also chapels in private houses and hospitals for the poor. The archbishop's chapel at Croydon is divided by a plain but very substantial and effective screen, figured in the first volume of Pugin's examples.

Browne's hospital at Stamford, Bishop Bubwith's almshouses at Wells, S. John's hospital at Sherburne, the bede-houses at Northampton and Leicester, the Vicar's chapel at Wells, have all screens in their chapels, and some of them of most elegant design. In the private chapel of an ancient mansion at Cothele, on the banks of the Tamar, is an open screen of perpendicular work. In short, I do not imagine that any building dedicated to divine worship was considered complete, unless furnished with a suitable screen.

In the reign of Edward VI., the roods, with their attendant images, were removed, and it is probable that the lofts were stript at the same time of the candlesticks and basons of latten, wherein the lights were set up. But the screens themselves do not appear to have suffered, and indeed, in accordance with the decree that the chancels were to remain as in time past, the screens were absolutely necessary. Considering the great number of screens yet standing, it is evident that those which have been removed, were demolished, through the ignorance or indifference of the authorities during the repairs that the buildings have undergone, and I am personally acquainted with several instances which corroborate this fact. There are several examples of post-Reformation screens, one at Gedington church, of a simple but good character, and another at Martham church, Norfolk, which is painted and gilt.

The choir of Wimborne Minster, Dorsetshire, was fitted up in the beginning of the seventeenth, or end of the sixteenth century, quite after the old traditions, as regards screen-work and arrangement, though the details were of course debased.

The collegiate chapels of the universities present several remarkable examples of post-Reformation screens, as Wadham, Baliol, Lincoln, the old screen of Magdalene, before the recent alterations, at Oxford; and Peterhouse, Caius college, Clarehall, at Cambridge; even the screen of King's college chapel itself was not erected till after the schism, as the initials of Anna Boleyn occur in its decorations.

I have been informed of a screen in one of the churches at Leeds, erected in the seventeenth century; and an oak screen of a still later date is standing in the church of St. Peter, upon Cornhill, London. Lady Dudley, a most pious lady, in the time of Charles I. set up a screen in the church of St. Giles-in-the-fields, which was afterwards destroyed by the Puritan faction. The whole transaction is so illustrative of the spirit of those times, and so applicable to the fanatics of our own days, that I have printed it at length at p. 74.

From these instances it will be seen that the principle of screening off chancels has been retained in the church of England since its separation from Catholic unity, and the partial discontinuance in the eighteenth century was purely owing to extreme ignorance of ecclesiastical traditions, which prevailed throughout the members of this communion at that period, remarkable only for debased taste, and a total disregard of the wonderful productions of Catholic antiquity.

To this brief account of screens in England, I have subjoined some interesting extracts from churchwardens' accounts and other documents, printed in Nichol's illustrations, which will illustrate their history and decoration.

ACCOUNTS OF ST. MARGARET'S, WESTMINSTER.

"1510.

"Item. The said wardens, now accomptants, received of Mrs. Elizabeth Morley, widow, towards the new making of a Rood, Mary, and John, in the roodeloft, at the time the parish be of power and substance, to build and make the same rood loft, the sum of £10. 0ˢ 0ᵈ.

"Item. Received of the gift of Watir Gardynar, to the making of the rode-loft in the middle isle within the church, as more plainly appeareth by acquittance made by the said churchwardens to the said N. Watir, dated the ... day of October, the 9ᵉ yere of the reign of King Henry VII., £38. 0ˢ 0ᵈ".

The next item occurs in the reign of Edward VI.—

"Paid to Thomas Stockdale, of XXXV ells of cloth for the frunte of the rood-lofte, whereon the commandments be written...."

It appears from this, that the commandments were set up originally in the rood lofts, and not over the altars. But in the succeeding reign of Mary, this cloth, on which the commandments were painted, was turned to a different purpose, for in 1557, we find the following item:

"For making iii serplys of the cloth that hung before the rode loft, written with the commandments, 2ˢ 0ᵈ."

In 1559, the rood was destroyed, and in a barbarous manner, for we find the following items:

"Paid to John Rial for his iii days' work to take down the roode, Mary, and John, 2ˢ 8ᵈ.

"Item. To the same for cleaving and sawing of the rood, Mary, and John, 1ˢ".

In 1561, "Paid to joyners and labourers about the taking down and new reforming of the rood loft, as by a particular book thereof made doth appear, £37. 10ˢ 2ᵈ".

This is the last item which occurs respecting the rood loft of this church.

S. LAWRENCE, READING.

_From Coate's History of Reading._

"1499.

"It. Rec. at Alhalow-tyde for the rode light xˢ iiiiᵈ.

"It. Payed for xliii.-li. of ire wark, on the south end of the rode loft to stay the lyght, the li. iiᵈ Smᵃ viiˢ iiᵈ.

"It. Payed for xxvi. li. of irewark on the north syde or end of the same rode loft to stay the same lyght, pic le li., ii. Smᵃ iiiiˢ iiiiᵈ.

"It. Payed for lyne to draw the curtens in the same lofte, iiiᵈ.

"It. Payed for scouring of the laten bolls in the said loft, iiiiᵈ.

"It. Payed for six laten bolls on the north side of the rode loft, viiiˢ.

"1506.

"It. Paied for settyng up of the said rode, Mary, and John, for the remouing of the organs, and for making yᵉ sete for yᵉ player of yᵉ same organs, xxᵈ.

"It. Paied to Henry Blanksten, paynt for gilding the rode, Mary, and John, in the rode loft, xiiiiˢ."

EXTRACTS FROM THE CHURCHWARDEN'S ACCOMPTS OF ST. MARY HILL, LONDON.

_Costs paid for penting of the roodes, with karvying, and oder costs also._

"1497.

"Item. To Sir John Plomer, for makying of the fyugyrrs of the roode, £0. 1ˢ 8ᵈ.

"Item. To the karvers for makyg of iii. dyadems,[19] and of oon of the Evangelists, and for mendyg the roode, the crosse, the Mary and John, the crown of thorn, with all odir fawts, £0. 10ˢ 0ᵈ.

"Item. To Undirwood, for peynting and gyldyng of the roode, the crosse, Mary and John, iiii. Evangelists, and the iii. dyadems, with the nobills that I owe to him in money, £5.

"Item. For makyng clene of standards, candlesticks, braunches, with the bolls of laten upon the beame of the rodeloft, anenst the fest of Est., A.D., 1486."

EXTRACTS FROM THE CHURCHWARDENS' ACCOMPTS OF THE PARISH OF ST. HELEN'S, ABINGDON.

"1555.

"Payde for making the roode and peynting the same, £0. 5ˢ 4ᵈ.

"For making the roode lyghtes, £0. 10ˢ 6ᵈ.

"For the roode lyghtes at Christmase, £1. 3ˢ 2½ᵈ.

"1557.

"Received of the paryshe for the roode lyghts at Christmas. Payde for peynting the roode of Marie and John, and the patron of the churche, £0. 6ˢ 8ᵈ.

"For the roode, Marie, and John, with the patron of the church, £0. 18ˢ 0ᵈ.

"1561.

"To the somner, for bringing the order for the roode loft.

"To the carpenter and others for taking down the roode lofte, and stopping the holes in the wall, where the joices stoode, £0. 15ˢ 8ᵈ.

"To the peynter, for writing the scripture where the roode loft stoode, and overthwarte the same isle, £0. 3ˢ 4ᵈ."

EXTRACTS FROM THE CHURCHWARDENS' ACCOMPTS OF HEYBRIDGE.

"Payde for waxe for the roode-lofte light agenst Chrystemas last paste, pryce the pounde 10ᵈ, £0. 4ˢ 2ᵈ.

"A cloth of the Passyon to hang in the roode lofte in Lente."

EXTRACTS FROM THE CHURCHWARDENS' ACCOMPTS OF WALBERSWICK.

"Item. Paide to Robt. Bungyng, for helpyng of oon borde in the roode lofte, £0. 0ˢ 2ᵈ.

"Item. Payd for mendyng and staying yᵉ roodeloft, in hale, £0. 0ˢ 2ᵈ.

"Item. To ye said Stephin, for mendyng yᵉ herne wark in yᵉ rode lofte, £0. 0ˢ 4ᵈ."

WOODBRIDGE.

"Hic jacet Johannes Albred quondam Twelewever, istius ville. Ob. primo die Maii, 1400, et Agnes uxor eijus.

"This Twelewever, with Agnes, his wife, were at the charges (people of all degree being, as then, forward to beautifie the house of God), to cut, gild, and paint a rood loft or partition betwixt the body of the church and the quire, whereon the pictures of the crosse and crucifixe, the Virgin Mary, of angels, archangels, saints and martyrs are figured to the life: which how glorious it was when it was all standing, may be discerned by that which remaineth. This, their work of pietie, was depensild [painted] upon the fabricke, of which so much as is left.

"'Orate.—Johannes Albrede et Agnetis—Soluerunt pro pictura totius hujus operis superne:—videlicet, crucis crucifixi, Marie, archangelorum et totius candeleb.'

"The names of some of the saints pourtraied upon the worke and yet remaining, are these, S. Paul, S. Edward, S. Kenelm, S. Oswald, S. Cuthbert, S. Blaze, S. Quintin, S. Leodegare, S. Barnaby, S. Jerome."—From Weever's Funeral Monuments.

ACCOUNT OF THE SCREEN IN THE CHURCH OF ST. GILES-IN-THE-FIELDS.

"The said church is divided into three parts: the sanctum sanctorum being one of them, is separated by a large skreene in the figure of a beautiful gate in which is carved two large pillars and three large statues: on the one side is Paul with his sword; on the other Barnabas with his book; and over these, Peter with his keys; they are all set above with winged cherubims, and beneath supported by lions.

"This screen, which was erected by the pious munificence of Lady Dudley, about ten years previous, was demolished by the Puritans in 1644. We find a party in the parish in 1640, exhibiting articles to Parliament against the rector, Dr. Heywood. It was stated that, in the parish church were set up crucifixes, and divers images of saints, and likewise organs with other confused musicke, hindering devotion." The screen given by Lady Dudley was also decreed as superstitious, and in 1644 is the following memorandum respecting it: "Also, we, the auditors of this account, doe find that the accomptant, Edward Gerrard, was commanded, by ordinance of Parliament, to take down the screene in the chancell, it being found superstitious, which was accordingly done, and it sold for fortye shillings;

"Also, out of the receipt for church goods, were paid the bricklayer for mending the walls on both sides the chancel, where the screen stood."—From Parton's History of St. Giles-in-the-Fields.

It is remarkable what a similarity of feeling against screens is to be found among Puritans and Paganisers.

[18] Till very recently there were distinct traces of the side altars under this screen, but they have been removed, and modern tracery put in their place.

[19] _Diadem_, the old English word for Nimbus.

OF THE FOUR CLASSES OF AMBONOCLASTS

THE CALVINIST AMBONOCLAST.

When we now behold the city of London, with its narrow lanes, lined with lofty warehouses and gloomy stores, leading down to the banks of the muddy Thames, whose waters are blackened with foul discharges from gas-works and soap-boilers, while the air is darkened with the dense smoke of chimneys rising high above the parish steeples, which mark the site of some ancient church, destroyed in the great conflagration, it is difficult to realize the existence of those venerable and beautiful fabrics where the citizens of London assembled in daily worship, and whose rood lofts shone so gloriously on Easter and Christmas feasts. But this great and ancient city was inferior to none in noble religious buildings; and in the sixteenth century the traveller who approached London from the west, by the way called Oldbourne, and arriving at the brow of the steep hill, must have had a most splendid prospect before him; to the right the parish church of S. Andrew's, rising most picturesquely from the steep declivity, and surrounded by elms, with its massive tower, decorated nave, and still later chancel; on the left the extensive buildings of Ely-house, its great gateway, embattled walls, lofty chapel and refectory, and numerous other lodgings and offices, surrounded by pleasant gardens, as then unalienated from the ancient see after which it was called, it presented a most venerable and ecclesiastical appearance. Further in the same direction might be perceived the gilded spire of S. John's church of Jerusalem and the Norman towers of S. Bartholomew's priory. Immediately below was the Fleet river, with its bridge, and the masts of the various craft moored along the quays. At the summit of the opposite hill, the lofty tower of S. Sepulchre's, which though greatly deteriorated in beauty, still remains. In the same line, and over the embattled parapets of the Newgate, the noble church of the Grey Friars, inferior in extent only to the cathedral of S. Paul, whose gigantic spire, the highest in the world, rose majestically from the centre of a cruciform church nearly seven hundred feet in length, and whose grand line of high roofs and pinnacled buttresses stood high above the group of gable-houses, and even the towers of the neighbouring churches. If we terminate the panorama with the arched lantern of S. Mary-le-Bow, the old tower of S. Michael, Cornhill, and a great number of lesser steeples, we shall have a faint idea of the ecclesiastical beauty of Catholic London. But to return to our more immediate subject, each of these fine churches was provided with its screen and rood. Numerous are the entries in the old churchwardens' accounts yet remaining of pious offerings made by the citizens to beautify the devotional sculptures which decorated them, and to provide tapers and branches to deck them for the returning festivals. There were veils for Lent, when the glory of our Lord was partially obscured by his approaching Passion; and there were garlands for Easter, and paschal lights, and crowns, and diadems. The old parish church of S. Mary-at-Hill was inferior to none in the beautiful partition of its chancel; it was principally the work of a pious citizen, who, on the decay of the older work, renewed the same; or, as the old chronicle expresses it:—"For the love he bore to Jesu and his holy Modir did sett up at his own proper costes and charges, and most artificially dispensil, the image of Christ, Mary, and John, and many saynts and aungels, with the loft whereon they stood: and for the due maintainyng of a perpetual light to hang brenyng before the same, and for a priest to synge at his anniversary he also left two tenements in the paryshe of Barkynge; and when he died he was buried under a grey stone, over and against the holy doors of the chancel, and till the sad time of the civil wars, was his portraieture in brass, and that of his wife, and 3 sons and 5 daughters at their feet, and his shield of mark, and the arms of the honourable Company of the Fishmongers, and round the bordure, with an Evangelist at every corner, was this inscription: '✠ Good Christen people, of your charitie pray for the soulys of John Layton, citizen and fyshemonger of London, who deceeded on the feast of S. Stephen, in the yeare of our Lorde 1456, and of Margaret his wyffe, on whose sowlys and the sowlys of Christen men may Jesu have mercy. Pater, ave, Amen.'" And on the brestsumer of the rood loft were carved divers devices, such as S. Peter's keys for his Patron, and dolphins and sea-luces salterwise for the Company, and scrolls, with +Lays+ coming out of tuns for the founder, and above all was a most artificial bratishing, with large bowls of brass, with prickets for tapers on great feasts, and there was a staircase of freestone, closed by an oak door, set up on the south side of the aisle, for the convenience of ascending to the same; and on each of the lower panels of the holy doors and of the bays of the screen were pictures of saints and martyrs, on grounds of gold diaper, each with their legend. For nearly a century this goodly work had stood the pride and delight of the parishioners, who bestowed much cost on sustaining its lights and ornaments, as the church books yet testify. But a sad and fearful change was approaching—new and heretical doctrines were circulated and even heard at Paul's Cross; men became divided in heart and mind; the returning festivals exhibited no unity of joy and devotion; many gloomily stayed away; and it was currently reported that nocturnal meetings were privately held at some citizens' houses, where preachers from beyond sea taught novel opinions, and inveighed against altars and priests, and sacred images and ancient rites; and soon there was a quest to examine into the ornaments of the churches, and many a goodly pyx, and chalice, and chrismatory were seized by the sacrilegious spoilers for the state; and shortly after the ancient service was interrupted by scoffers and infidels, and they who adhered to the old faith of England's church were filled with sorrow and dismay, and they worshipped in fear and sadness, and every day brought new troubles and greater sacrilege.

It was late in the evening, or rather the early part of the night, that a number of persons, evidently of very varied ranks and conditions, were crowded into a back chamber in the habitation of a citizen notoriously disaffected to the ancient religion; they were listening with considerable earnestness of attention, to the exhortations, or rather ravings, of a man of sour aspect, whose dress and gestures announced him as belonging to the class of unordained preachers called the New Gospellers. The subject of his discourse was the extirpation of idolatry; the triumphs of the Jewish people over the unbelieving nations was the principal source from whence he drew his denunciations. The texts relating to the destruction of the heathen idols he transferred to the ancient images of the church, and succeeded in rousing the passions of his hearers to the utmost frenzy. "But why," he exclaimed, "do we waste time? Let us lay the axe to the root of the tree; the famous rood of S. Mary-at-Hill standeth hard by, to the shame and reproach of Christian men. Let us pluck it down and utterly deface it, so it perish and be seen no more." Some of the most zealous of the fanatics instantly acted on this suggestion. Descending to the street, they soon surrounded the residence of the aged sacrist (who still retained his office, though the duties were sadly curtailed), and rousing him from his rest, demanded the keys of the church. Alarmed by the uproar, many casements were opened; but the numbers of the clamouring party appeared so considerable, and the prospect of any assistance from the watch (which was then only perambulatory) so remote, that none ventured down to the assistance of the old clerk, who, terrified by the menaces of his assailants, and without any companion except a lad who acted as his servant, at length surrendered the keys. A few links had by this time been procured, and by their smoky and lurid light the southern door was opened, and the whole party tumultuously crowded into the venerable edifice. The lamp so liberally provided by John Layton had ceased to burn for some time; its revenue had been sequestered as superstitious, and the chancel was shrouded in impenetrable darkness. Against this gloomy background the rood and its attendant images stood out in red reflected light, but the Jews themselves that scoffed on Calvary's mount were not more bitter in their scorn than the New Gospellers, who uttered loud shouts and cries as they beheld the object of their sacrilegious vengeance. The sound of hollow blows echoes through the church, the lower door is forced: ascending footsteps are heard on the staircase; then the rebounding tread of heavy feet on the loft itself, torches appear—axes gleam—heavy blows fall thick; some cleave, some pierce, some shout, and with one great crash it totters and falls—images, cross—all lie a ruin on the ancient pavement. The work of destruction now proceeds: some wrench the extended limbs from the sculptured cross; broken and dismembered, the sacred image of the Redeemer is dragged down the nave; while others deface and cleave the evangelistic symbols, tossing the fragments in wild derision; some curse, some spit, some foam, others exclaim, "Into the fire with it!" and a glare of light striking through the western window, showed that the suggestion had been followed; it crackled in the garth, and now the mangled images are piled on the roaring mass, while furious cries, "Away with it! Destroy it utterly!" break through the stillness of the night, and scare the affrighted parishioners, who behold this horrible spectacle from their gabled residences. Nearly three hundred years have elapsed, and the rood was again raised in glory in this very city, and the cry "Away with it!" was again heard. Came it from the blaspheming Jews? No. Came it from the bitter Calvinists? No. Came it from the incarnate fiends? No. It proceeded from a _modern Catholic ambonoclast_!!!!

THE PAGAN AMBONOCLAST.